Studio Views: White Noise

Completed work in the studio

Today work was completed on a new drawing in the series Signal to White Noise Ratio. The piece is a intricate rendering of the visual interference generated by repeatedly photocopying the same image, in this case a small, hand-drawn graphite square. The work is executed in graphite on paper and measures 120 x 120 cm.

Top: Signal to White Noise Ratio (2011)  / Below: Signal to White Noise Ratio (Detail)

Project News: Hybrid on TBC Online Project Space

Charley Peters Ghosts (2011)

The latest issue of TBC's 12-Pages publication is now available at www.12-pages.com. Featuring work from TBC Artists' Collective, associates and from open submission, participants were asked to respond to the theme of 'Hybrid'.

Concerned with issues of hybridity between analogue and digital methods of producing artworks, and hybrid words, which combine etymologically Latin and Greek parts, my work Ghosts (2011), is a series of three digital halftone drawings of analogue television static. The word 'television' is derived from a hybrid Latin and Greek origin meaning 'far sight': Greek 'tele', far, and Latin 'visio', sight.

Hybrid is online now.

Project News: Hybrid (Coming Soon)

The next issue of 12-Pages, the online publication from TBC Artists' Collective, will be available from 8th March. Edited by TBC member Beverley Bennett, the forthcoming issue is entitled Hybrid and will include new work by TBC artists, invited guests and from open submission. I have submitted three new digital drawings, which are a development of my recent Ben-Day dot paintings, which will be seen first in Hybrid on the 12-Pages Online Project Space.

Studio Views: Work in Progress

Studio photograph of work in progress (2011)

The photograph above, taken today in the studio, illustrates current work on a new drawing. Hand-drawn squares of graphite have been repeatedly photocopied until the image surface becomes disrupted, and then the resultant mechanically produced interventions are re-drawn exactly by hand.

Work in progress (2011)

Project News: Windows (Coming Soon)

Charley Peters, Window V Windows (2011)

Window V Windows is a new work for TBC Artists' Collective's forthcoming publication 'Windows', which will soon be available to view on the 12-Pages Online Project Space. It used the photograph View from the Window at Le Gras as source material from which to make a work for the February issue of TBC's online publication. View from the Window at Le Gras was the first permanent photograph, created by Nicéphore Niépce in 1826 in Saint-Loup-de-Varennes, France. Niépce produced his photograph—a view of a courtyard and outbuildings seen from the house’s upstairs window—by exposing a bitumen-coated plate in a camera obscura for eight hours on his windowsill. In Window V Windows Niépce's seminal work has been glitched by opening it in Wordpad for Windows and intervening in the image's coding, creating a mash-up of analogue and digital photographic data.

'Windows' by TBC Artists' Collective will be online at www.12-pages.com soon, featuring specially commissioned work by TBC Members and their invited guests.

Nicéphore Niépce, View from the Window at Le Gras (1826)

Studio Views: Work in Progress

Studio photograph of work in progress 29/01/11

Yesterday, work started on developing an earlier sketch from the Child/Animal/Other series. The work entails recreating material found from a google image search for 'child and animal', by rendering the individual elements of visual data that make up the image, in this case from a digital print of a half tone pixel-based photograph.

Work in Progress (Detail)

Studio Views: CMYK Sketches

CMYK Sketches (2011) Acrylic on Canvas

CMYK Sketches (Detail)

CMYK Sketches (2011) Acrylic on Paper

CMYK Sketches (Detail)

Developmental sketches exploring a limited Cyan, Magenta, Yellow and Black palette. The paint is applied in layers onto the paintings' surfaces, where the colour mixing occurs – rather than mixing it on a palette prior to application. The process continues with my exploration of replicating mechanised image-making processes by hand, in this case suggesting a four colour printing process or screenprinting.